Wednesday, July 26, 2017

The Intersectionality of White, Male, European

I ran across an article about intersectionality recently. This is a fairly recent concept or strategy unfurled in the culture wars. Elizabeth C. Corey provides an overview:
Thus the metaphor of “intersectionality” was born. Black women found themselves at the intersection of two different kinds of prejudice—about race and gender—and could not receive remedy by addressing one or the other alone. Writers since Crenshaw have expanded the term to cover studies that integrate the disadvantages caused by sexual orientation, class, age, body size, gender identification, ability, and more. Personal identity results from the combination of these many aspects of identity, they say, and each one signifies a measure of either oppression or privilege. As a whole, these traits determine an individual’s position in the “matrix of domination.”
You should read the whole piece, but here is another excerpt:
In demonizing non-radical political views, white men, and tradition in general, intersectionality ­theorists make precisely the same mistake they so vehemently abhor: They classify people in terms of names and characteristics that they often have not chosen, and then write them off as enemies. The intersectional project of oppositional, activist scholarship demands it, for nothing brings people together like a common enemy. When that enemy must be eradicated in a quasi-­religious movement of destruction, we are in for a long and bitter fight.
It seems to me that it is the white, European male composer that is the prime candidate for some intersectional analysis. In today's university climate, at least viewed from certain places (Musicology Now, for example), the one group that is experiencing the most bias, prejudice and bigotry is the group of composers that have been the most prominent in Western civilization: Machaut, Josquin, DuFay, Palestrina, Monteverdi, Vivaldi, Bach, Haydn, Mozart, Beethoven, Schubert, Wagner, Mahler, Schoenberg, Stravinsky, Prokofiev.... Well, the list goes on forever. Every one of these people is white, male and European (a couple are Jewish, but that doesn't seem to matter) and for precisely those reasons the new on-campus progressivism demands that their role be demeaned and diminished. Sounds like intersectionality to me!

It is rather painful to have such a successful, even though intellectually vacuous, tactic used against you, isn't it?

Art and Money

I've often puzzled over the different economic directions the visual and performing arts have taken in the last century. At the bottom end of the economic spectrum, both beginning visual artists and composers are struggling in poverty. But at the top end, the visual artists are far ahead. Vincent van Gogh provides an example. During his lifetime he sold only one painting for less than $2000 in today's money. Few of his paintings go to auction these days as they are mostly held in museums, but one sold in 1990 for over $150 million in today's money. A Willem de Kooning sold recently for $300 million. Yes, it is usually, but not always, the case that it is not the artist that benefits, often being dead, but someone does!

Composers are far less well off. The very famous American composer Philip Glass had to work at various menial jobs (driving a cab, moving furniture, plumbing) until he was into his 40s when commissions began to be enough to barely support him.

The situation seems to be that there is a lot of money in visual arts, but a lot of expenses in performing arts!

As I say, I have puzzled over this and never come up with much of an explanation other than rich people like to buy things they can hang on their walls. But Ann Althouse put up a post the other day that offers a suggestion, The Art Donation Tax Evasion. You need to read the whole thing, but the idea is that the New York Times evasively describes a long-standing strategy for avoiding taxes that depends on donating art to museums at inflated values. But the NYT commentators are on to it:
"Ah, the good old-fashioned donation evaluation for taxes. The wealthy have been doing this for a very long time. Museums are there for this very reason. To deposit overly valued art pieces in lieu of a tax deduction. Same goes for property, buildings and other funding to arts, medicine and pet projects. Art is tricky. How is it exactly evaluated? And by whom?"
Could this be part of the reason that prices for visual arts seem a little high?

Monday, July 24, 2017

Aesthetics, part 2

As I said in my post yesterday on aesthetics, we have a desperate need for it! The reason is that as soon as we start to talk about art, aesthetic questions arise. What is truly hilarious about nearly all the articles that are constantly appearing in the mainstream media that are purportedly about music, is that the only thing they actually avoid talking about is, you guessed it, music! So what are they talking about? Most of the time, as the quotes in yesterday's post show, it is psychology, not music. They talk about brain scans, dopamine levels, the answers to questionnaires, surveys and so on. These things, while suitable things for psychologists to talk about, are not music.

There are other typical kinds of articles supposedly about music and they include ones discussing how many records have been sold (that is obviously about economics or marketing, not music), or about the scandalous things a musical celebrity has gotten up to (that is gossip, not music) or articles promoting a new album by someone (that, again, is marketing, not music). Occasionally we do get an article that seems to be talking about the music, but they are virtually always crippled by avoiding any actual musical vocabulary or musical examples. In a media universe where an image like this is perfectly acceptable:

Miley Cyrus, pop singer

One like this is absolutely forbidden:

It would be a great topic for a dissertation to trace how we got here, but my guess is that it is a consequence of a couple of psychological anomalies in our current society. Why is the top image acceptable, but the lower one not? (Oh, and if you think I am exaggerating, try and find a musical score anywhere in the mainstream media where they frequently review classical music.) The top image is ok because sex is ok and promotion is ok and notoriety is ok and, I guess, police nightsticks (the prop) are ok. The lower image is not ok because it makes people who can't read music uncomfortable. Thou shalt not present anything that might make anyone in your readership uncomfortable (though, god knows, the upper image has got to make a lot of folks uncomfortable!)

Another reason is that discrimination of any kind is now classified as evil. Never mind that discrimination is a fundamental mental activity and skill. We do it all the time. Life is impossible without it. When we go to the supermarket we discriminate between the good tomato and the soft, mushy one. When we go to the movies we discriminate between films we like and want to see and ones we don't. When we go to our CD shelf to pick a piece to listen to we discriminate between ones we want to hear at that time and ones we don't. When we are hiring an employee we discriminate between ones that seem to have the necessary skills and ones that don't. But whoa, that starts to get onto dangerous ground, does it not?

Possibly as a result of civil rights legislation running amok and being taken over by post-modernism, discrimination has been redefined as bigotry for most purposes. There are certain kinds of discrimination that are obviously unjust and wrong, so the safest course is to ban all discrimination. Also, as everyone's opinion is equally valid, we don't want to hear any talk about why a particular piece of music is better than any other. Not without scientific evidence at least! Of course there is no scientific evidence in this area. So the fact that some discrimination is perfectly ok has faded away. A big reason for that is that evidence to support someone's opinion about, say, a piece of music, has been largely forbidden. Thou shalt not quote from the musical score or use musical vocabulary. Without that, everything is just metaphor, babbling and psychology.

So I guess it is no wonder that no-one knows how to talk about music from the aesthetic point of view any more. But really, it is the only way! What kinds of music do you like? Why do you like them? Why might you dislike a piece of music? What about it do you find objectionable? What does music express and how does it do it? Why do we enjoy "sad" music? Why is it so hard to describe music in words? And so on. Virtually every kind of ordinary question about music is actually an aesthetic question. But we have, through endless propagandizing, been forbidden to ask these kinds of questions. Like I say, that would make a great dissertation...

Ok, well that was my attempt to describe why aesthetics is more necessary than ever. For our envoi, let's listen to that Bach Concerto for Two Violins. The soloists are Arabella Steinbacher & Akiko Suwanai:

A Shout Out to Musicology Now

If you look at my "popular posts" list on the right hand side, you will see a new entry: How Now, Musicology Now. This is a post I put up just last week and the explanation for why it has suddenly leapt into the popular column is that one of the editors of Musicology Now, the official blog for the American Musicological Society, Robert W. Fink, linked to the post from the AMS FaceBook page. He also, courteously, left a comment:
Bryan - As one of the editors of Musicology Now, let me thank you for your attention to our blog. We could definitely publish more content, but our situation is slightly different than that of a single-authored blog. The editors don't publish their own material, and, as you note, publishing a piece in Musicology Now does not advance one's career like peer-reviewed publication. We're always looking for more material, but since no one really "owns" this blog, we do have a problem getting people to put stuff out there for the no-so-tender consideration of the internet at large.
I'm shamelessly linking to this attack on the blog in my FB feed, on our page, etc. in order to rouse the collective pride of the Society, and perhaps drum up more submissions. I'm not sure the result will be to your intellectual taste (chacun, etc.), but we can all agree that it would be great to have more material to the AMS blog.
Thanks for your help. :)
Let me just say that this is great! Who wouldn't love a big launch from the AMS? As far as I can tell, the post has attracted about 1200 more pageviews than it would have otherwise. Prof. Fink describes my post as an "attack" and it was certainly a thorough bit of criticism of the blog. But after a new, and even more objectionable, post appeared on Musicology Now a few days later, I put up a more extensive critique in this post in which I described a curriculum proposal as a "Maoist re-education plan." I think that that one has attracted some traffic from AMS members as well.

So as of now, perhaps a third of the 3,500 AMS members may have visited this blog, or at least a post or two. Frankly, what I expected was a great deal of critique of my critique, widespread disagreement, spitballs, rancor, opposing arguments and possibly thundershowers. What I got, apart from the comment from Prof. Fink was, wait for it: nothing. Nada, nichts, rien!

What's the deal guys? Do you agree with everything I said? Or are you just afraid to leave a comment? Will we see some changes over at Musicology Now? As of today, the last post on their site is still the one from last Monday about racial and gender diversity.

Here's the thing: there are unending articles about the dire situation of classical music and what we need to do to reverse the trend. A lot of them stress that the "accessibility" of classical music needs to be increased. Frankly, with millions of clips on YouTube of classical music, I don't see how it could be MORE accessible. The solutions described usually involve changing the nature of classical performances so they resemble popular music performances more which might attract more people who usually listen only to popular music. This often doesn't go too well because the one element you can't change too much, or replace for that matter, is classical music itself. The truth is that the portion of society, in North America particularly, that is able to listen to classical music in an appreciative and discerning manner is not large and seems to be decreasing. If we pander to them too much all we will do is throw the baby out with the bathwater.

As I know from spending a month in Europe recently, the situation there is quite different. Concert halls are full and the audience is larded with young people. The reason is that in Europe, the proportion of educated listeners is much greater.

To me the solution is obvious: we in North America have to provide a better introduction to the music through educational outreach. And it has to be real and substantial, not the feeble and diaphanous efforts that usually pass for educational outreach. Who in North America possesses the greatest wealth of knowledge and expertise in this area? The American Musicological Society would seem to be it. How do you reach out? I would think the same way that I do. The purpose of this blog is to talk about music in an entertaining and informative way. Surely the AMS blog should be doing something similar. But you ain't! So give it a go. I think it is important for the future health of music.

Sunday, July 23, 2017

Introduction to Aesthetics

What the heck is aesthetics? Is it something that is somehow bestowed in one of those salons you see tucked away in strip malls (but surely the point of this establishment is to reveal, not to hide, beauty?):
"Esthetics" is a common spelling and even though it seems more common in the beauty salon context, is usually defined the same way as "aesthetics." It might be informative to read the Wikipedia article which begins by defining aesthetics as:
Aesthetics (/ɛsˈθɛtɪks/ or /iːsˈθɛtɪks/; also spelled æsthetics and esthetics) is a branch of philosophy that explores the nature of art, beauty, and taste, with the creation and appreciation of beauty.
But I wouldn't take the article too seriously as, with so many philosophical concepts, a brief explanation usually does little more than confuse the reader irreparably! For an example, try reading the article on "ontology."

I'm going to go at this from a different angle and I'm going to start by showing exactly why we have a desperate need for aesthetics. Here is an article I put in this week's miscellanea titled: What's the Best Song, According to Science? We live in such weird times that we expect science, a perfectly respectable field of human endeavor, but one with very clear boundaries, to actually answer all our questions! About everything! Examples from this article show us just why this doesn't work:
Daniel Glaser
Neuroscientist and Director of the Science Gallery at King’s College London
Is there any way to scientifically determine what makes a “good” song? Why or why not?
The best way to test a song is still a human. We can measure how people respond to songs in a bunch of ways including brain scans, measures of chemicals in the the brain, including dopamine (which is associated with the internal reward system reward, perhaps you give yourself a pat on the back for selecting a great playlist). Actually measuring foot tapping or the smile muscles is probably just as good as most more ‘scientific methods.’
I can't imagine a more useless way of evaluating the aesthetic value of a song, though I'm sure this tells us something about whatever people they got inside their brain scan machine. Here is another example:
Amy Belfi
Postdoctoral Associate in the Department of Psychology at New York University, researching the relationship between music and the brain
Why do some of us have viscerally negative reactions to certain songs?
There’s some interesting research that shows that people fall on a spectrum in terms of their “musical hedonism.” A small group have what you’d call musical anhedonia, so these are people that don’t like music at all. It’s not that they get a viscerally negative reaction, it’s just that they don’t really listen to it, they don’t really get music, they don’t really respond in a viscerally positive way to it.
Again, this tells us something about people, but absolutely nothing about songs. Amy Belfi has another very interesting answer:
Are there any qualities that make a song “good”?
The challenge in psychology, but especially when we’re looking at music, is the fact that there’s individual differences. Taste is so varied in terms of music. In several studies about musical chills or really positive responses to music, they have the participants in the study bring in their own music to listen to. So you would have to have a comparison of highly pleasing music versus non-pleasing music. So the highly pleasing music is totally different from one person to another.
My research tends to focus on the response to music rather than the particular qualities of it, since it’s so hard to pick a song that everyone across the board likes, unless you pick a group of participants that have very homogenous taste which is also kind of challenging. If we knew what made the perfect song, someone would be making millions of dollars off it.
My emphasis. Yes, of course psychology will always focus on the people responding to the music, rather than the music itself because all of their tools are designed for that purpose. They have no tools to examine the music! Most hilariously, there are people making millions of dollars off writing and performing songs all the time! Why? Because that is their profession. They are called "musicians" and they know about music in the specific sense of what musical elements are likely to appeal to the largest numbers of people. That's how you make a million dollars in music. Aren't psychologists aware of this?

I could go on quoting this and other articles about music in popular media, but there would just be a lot of repetition. You learn absolutely nothing about music by scanning people's brains or by interrogating random groups of listeners. You can learn an awful lot about music by actually looking at the music. And by "looking at" I mean listening to, playing and studying the score. But when you do that you are examining, not human brains or dopamine levels or answers to questionnaires, which are things susceptible to scientific examination, but rather aesthetic objects, which are emphatically not susceptible to scientific examination.

It seems to be the case that there is no easy and simple definition of what an aesthetic object is, as for every one offered there seem to be exceptions and teams of philosophers standing ready to knock any definition down. But if I could be allowed an ostensive definition, then I would simply say that, for our purposes, a musical aesthetic object is any musical performance that provides the listener with an aesthetic experience. Of course, I broke a fundamental rule by using the word itself in the definition. But I don't think that matters too much as my real definition is just to point to examples. What we go to a concert hall or a dance club to hear is usually "music." What we hear from a wind-chime is not, because it lacks the necessary element of intentionality: in other words, there has to be a human performer involved. So music composed by computers doesn't count, which is fine by me.

That's it for this post. In succeeding ones I will try to summarize the best bits from Monroe C. Beardsley's excellent book on aesthetics. Let's end with a musical aesthetic object. This is Martha Argerich playing the Sonata in D minor, K. 141 by Domenico Scarlatti as an encore at the Verbier Festival in 2009:

Stravinsky: Technique and Theory, part 1

This is where the rubber meets the road: now we have to really come to grips with the structure of Stravinsky's music which is what Taruskin takes up in the next chapter: "Chernomor to Kashchey: Harmonic Sorcery." He pulls no punches here, the chapter is heavily larded with musical examples. Incidentally, this is how you can tell a book intended for musicians from those intended for the general public: any form of musical notation is absolutely prohibited in the latter. Even a book that appears to be for a specialized musical audience, like the Cambridge Handbook on the Rite of Spring, does not have an overabundance of musical examples, though certainly the essential ones. But the Taruskin volume is chock full of extensive musical examples (not to mention footnotes).

He begins the chapter with Rimsky-Korsakov's comment, after an evening in which Stravinsky and Rimsky-Korsakov's wife, Nadezhda, had played through the Schubert late C-major symphony in a piano four-hands arrangement. He said that before Schubert certain "bold and unexpected" modulations simply did not exist. For Rimsky-Korsakov, Schubert was the father of modern music. What kind of modulations was he referring to?

I want to just back up a bit and fill in a bit of background here. Music in the Western world, for a long time, was based on the individual melodic line. Most music in most places is still structured in this way. But in Western music going back eight or nine hundred years, the practice of combining independent melodic lines became the standard practice. In order that they blend in a pleasing way and not clash, certain methods or rules were adopted. This is where the idea of consonance and dissonance came from. Some notes clash, are dissonant, while others blend, are consonant. A good piece of music actually uses both these phenomena so as not to be bland and boring. But there were pretty strict rules for how dissonances were to be handled or resolved.

As we move into the 15th century, harmony begins to develop a life of its own as composers like DuFay developed techniques like fauxbourdon to harmonise melodic lines. (I know I am getting into esoteric knowledge when Blogger starts underlining words in red, even though I know they are spelled correctly!) Roughly from 1600, harmony became more and more structurally prominent and the idea of functionality came to the fore. Functional harmony was the common practice from around 1600 to around 1900, though just how it functioned changed enormously. Taruskin points out in passing that a good book on the use of harmony in the 19th century still has to be written!

The first stage of functional harmony focused on the idea of a tonic and a dominant. Pieces of music basically began in the tonic, the harmony built on the first note of the scale, or tonic. Then the music moved to the dominant harmony, that built on the fifth note of the scale. A couple of other chords or harmonies were used built on the fourth note of the scale, the subdominant (which prepared or led up to the dominant) and the sixth note of the scale (which was used to stand in for the tonic in a deceptive cadence), the submediant. Pop music to this very day rarely uses any harmonies other than these basic ones, though jazz certainly does. Closure is achieved by simply returning to the tonic after the dominant. This harmonic movement, from dominant to tonic, is called a cadence and all tonal music ends with one.

The tonic/dominant relationship was so powerful that it was soon extended in various ways. One was by using secondary dominants, that is, any harmony or chord can be preceded by its dominant. The whole harmonic space can also be organized by the circle of fifths:

As you move up by fifths, each key adds a sharp, while as you move down by fifths, each key adds a flat. This enabled modulation, the movement from one key to another, to be handled in a clear and organized way. A great deal of music, especially in the Baroque and Classical periods, is filled with harmonic sequences, which are passages that move through different harmonies in a specific pattern. The most common are ones that descend or ascend by fifths. Here is a good page on that. Sequences were used as a kind harmonic engine to drive the music forward.

By the time we get to Schubert and the early Romantic period, composers were looking for something different. Rather than driving forward, they wanted to pause, reflect and give the music an inwardness. What Schubert did was to exploit and normalize the use of sequences that moved by thirds rather than fifths: these are called mediant progressions. As Taruskin notes, third relations operate in Schubert on every structural level. Here is a harmonic reduction of a forty-bar passage from the Finale to the C-major symphony that provides an example. The chords marked "x" are flat submediants that have no functional role in harmonic structure up to this point. They alternate brusquely with the tonic and only work because of the common pitch, C, that unites them:

The flat submediant, a major third below the tonic, A flat major in the key of C, was the Romantic harmony par excellence and its use is largely credited to Schubert. That other harmony you see, the F# diminished chord, also has a mediant origin, it is two minor thirds above the tonic. Both these chords contain a C natural, which links them to the tonic.

This might be enough harmonic theory for one post, so let's listen to that Schubert symphony. This is the "Great" Symphony in C major (so-called because there is another, shorter, symphony by Schubert also in C major) with the Vienna Philharmonic conducted by John Eliot Gardiner:

Incidentally, in the first movement Schubert inserts a complete circle of major thirds within a circle of fifths!

Saturday, July 22, 2017

Criticism, as She is Done

Criticism, whether of literature or music or visual arts (though I never know what they are talking about) can be a delightful thing. All the really good criticism I have ever read has been based on personal taste informed by a thorough knowledge of the artwork. In music I take particular delight in the criticism of Charles Rosen. His books on Classical style might seem to be primarily analysis, but to my mind they are simply informed criticism. Richard Taruskin's writings, on the other hand, downplay the element of criticism in favor of historical context and more power to them.

I am writing this post because I just ran across a beautiful example of literary criticism from David Mamet in the Wall Street Journal. The title is Charles Dickens Makes Me Want to Throw Up:
Dickens’s characters are cardboard cutouts, even in their names: Inspector Bucket, the Brothers Cheeryble, Jerry Cruncher. They are mechanicals. His prose is turgid and, less forgivable, tortured. Here’s his rendition, in “Dombey and Son,” of a sea-captain’s dialect: “It’s an almighty element. There’s wonders in the deep, my pretty. Think on it when the winds is roaring and the waves is rowling.”
What a load of bosh. The public devotion to Dickens’s work is sententious and perhaps even self-congratulatory—like that affection of New York theatergoers between the wars for the lugubrious plays of Eugene O’Neill.
I find Dickens’s gloomy view of London stinking of the lamp: that sputtering meager lamp which hardly brightens the overpowering darkness of the cold garret room, where, huddled in the corner, poverty has moored a guiltless ragamuffin, who, et cetera.
Yep! Mamet reserves his particular praise for Anthony Trollope, whom I greatly loved as I read all of his Palliser novels many years ago.
I’ve read Anthony Trollope’s entire work several times, not because I am schooled, educated or right-thinking—I don’t believe I am more afflicted in these than most—but because I like to read. Trollope’s 47 novels, nonfiction and incidental work are a delight. His prose is clear, perfectly rhythmic, concise and, at turns, trenchant and profoundly funny.
His plotting is stunning. How does one write a three-decker novel, which will appear in installments over a year and a half, and have the equation resolve magnificently—although making it up as one goes along? Compound this, if you will, with his work habits: Trollope rose every morning at 5:30 and wrote 2,500 words. If he completed one novel before meeting his daily goal, he began another. All while running various departments of the British General Post Office.
I can hardly wait to make a start on the Barchester novels. Mamet has a delightful denouement to his essay:
I loathed Henry James and counted myself boorish until I read the opinion of his best friend, Edith Wharton, who pronounced him unreadable. As per Marley’s Ghost, we each wear the chains we forged in life; if fortunate, the various spirits come to induce us to shed them. I’m not chutzpadik enough to think I rank among those shades, but if I have relieved one reader of the burden of a factitious and oppressive affection for Chuck Dickens I will rest evermore content.
Amen. And let's raise our glasses in toast to a bit of literary criticism that is delightful, humorous, engaging and inspiring without once exhorting us on the basis of resentful, smug, identity politics!

Friday, July 21, 2017

Friday Miscellanea

Making up for last week, today I have an action-packed miscellanea for you!

I have to admit that I quite liked Lady Gaga's "Bad Romance." The only thing better than a good music video is a satirical cover of a music video, so here you go, this is On the Rocks, the University of Oregon's premiere a capella ensemble, with their cover of "Bad Romance":

UPDATE: Now with the right song!

* * *

A commentator sent this link in, which is a quiz that is supposed to be able to guess your age from your musical taste. Why don't you do it and report the results in a comment?

* * *

This is rather a nice little rant:
Popular culture in the English-speaking world is in the grips of a downward nerd-driven death spiral. Outside of the art-house theaters of our major cities it is almost impossible to find more than one semi-decent film a month that is not an adaptation of some decades-old picture book franchise about men in rubber costumes punching each other. The average video game player is more than 30 years old. The only book that most Americans between the ages of 23 and 40 seem to have read whose title does not begin with some variation of "Harry Potter and the” is a fable about talking animals that they were assigned in middle school. Things are bad.
That's from an article about Game of Thrones at The Week.

* * *

Direct from the Violin Channel is this video of South Korean violinist Jenny Yun and her backup dancers:

My violinist friend says she wants to either hurl or play Russian roulette with bullets in all the chambers. Me too, but I suspect we are not in the target demographic!

* * *

This might be the most hilarious item of the day: "What's the Best Song, According to Science?"
Obviously, all art—and taste—is subjective. But is there one song—or one kind of song—that’s generally more enjoyable? Recently, author Tom Cox tweeted some musings on the philosophy behind what makes the “best song ever.” A significant portion of the internet, however, argued that he was full of shit because the best song of all time is Toto’s classic 1982 hit, “Africa.”
And then they try and approach the question with scientific method. One thing for sure, science has no way of approaching aesthetic questions.

* * *

Painter Andrew Wyeth is finally receiving his due. Why Andrew Wyeth’s Art – Once Derided – Has Outlived His Critics:
This commitment to a narrow range of subjects made Wyeth unique and precluded him from critical popularity during life. It was not fashionable to find order in everyday life when most of the world was aroused by the sexual revolution or terrified by the imminent threat of nuclear war. Wyeth’s seemingly idyllic scenes of country life were dismissed as irrelevant. Even when he branched out and released a series of highly publicized nudes nicknamed “The Helga Pictures,” he was criticized for attempting the sensual without including the pornographic. When he died, The Guardian sneered that his art “belongs in retired Republican politicians’ homes, and the boardrooms of bankrupt banks.”
Scorn, however, doesn’t last, at least in Wyeth’s case. Most of Wyeth’s detractors are dying out, and the quality of his work endures. As the world spins into chaos—and it always is—paintings like “Christina’s World” are reminders that even the wild has its own order. And seeing that is clarity.
* * *

 The Chicago Tribune has an article on John Adams:
"It can be a challenge to fill those enormous halls with an entire program of just my music," he said. "I was reminded that classical music is what people say it is, largely music of the past. It takes great time and effort to write music that might have a chance of entering the repertory, eventually."
Of similar concern is what he perceives as mounting classical music illiteracy in American society.
"One thing that disturbs me is that the friends I have dinner with — people who bear the same intellectual, social and political interests as I — don't listen to my music. Very few of them even listen to Beethoven. They listen to — I don't know — James Taylor or the Gipsy Kings. I realize I travel in a small cultural arena." 
Can this really be true? Is it because of where he lives, Berkeley, California? Surely if he lived in a major musical metropolis this would not be the case?

* * *

To a musician this information from a survey of choirs in the UK seems not only unfair, but a little insane:
The report makes a direct comparison between choirs and amateur sports clubs, noting that while around 300,000 more people sing in choirs than play amateur football, football receives £30m in funding every year – compared with under £500k a year for choirs. 
* * *

The authors, Lucy Dearn from the University of Sheffield’s Performer and Audience Research Centre, and Stephanie Pitts from its Department of Music, came up with interesting results. They found that most of the participants, even including those who were studying music at university level, experienced difficulty in identifying with the music emotionally, and with the concert experience as a whole.
They concluded: “While some respondents were pleasantly surprised by their enjoyment or impressed by the performers, most remained fairly fixed in their views, and it would clearly take more than one concert to begin to assimilate classical music listening within their established musical identities.”
The main obstacles that prevent them enjoying the concerts were “the emotional pace of the music”, the length of concerts they attended, and “the restrained behaviour of other audience members, which was interpreted by some as being indicative of a lack of emotional engagement”.
I can't help thinking that the wrong conclusions are always being drawn from studies like these. Go read the whole article and I think that a few things are clear:
  •  you can't come to enjoy classical music after attending one concert if you have never heard it before and spent your entire life listening to pop music--they are really opposite kinds of experiences
  • concert organizers cannot win young listeners by trying the ape the conditions of pop music performances unless they also replace the music with pop music, which defeats the whole purpose
  • if young people are surrounded by nothing but pop music and receive no proper music education, they have no real way to access what is going on in classical music
* * *

We haven't listened to any John Adams for a while. This is the first movement of Harmonielehre with Simon Rattle and the City of Birmingham Symphony:

Thursday, July 20, 2017

Some Thoughts from Jordan Peterson

Jordan Peterson is a Canadian clinical psychologist who has won a huge internet popularity through posting videos on YouTube that address some of the important issues of the day. Doesn't that sound boring! But not at all. It happens to be the case that if you actually talk about things that are significant, a lot of people simply want you to shut up. The reason is that a great deal of our public discourse is dominated by people who are enslaved by one or another ideology. And as he says in the video I am going to embed below "there are no innocuous ideologies." I want to put this up, even though it might seem to be both too political (though nothing he says is actually in the domain of politics) or too unrelated to the realm of music.

I have a good reason for posting this, though, and that is because some of the ideologies invading the world of music come from another place entirely and it is one that I am far from expert in. Jordan Peterson, on the other hand, has thought through these things pretty thoroughly, so I think that he can be of considerable help to us in this area. I hope you will take the time to watch this video, it is only 25 minutes long and contains a lot of important stuff.

Aesthetics: A Crash Course, part 1

A frequent commentator just left a wonderfully sardonic comment on my post How Now, Musicology Now. In so doing, he directed my attention to a new post at the Musicology Now site that offers detailed instructions in how to turn your music history survey course into a kind of Maoist re-education plan. You think I'm exaggerating? Go read Six Easy Ways to Immediately Address Racial and Gender Diversity in Your Music History Classroom:
The suggestions we propose are worth employing if they make our students play their part in making our world more beautiful, equitable, and just. Our classes can become places where we can effectively expose classism, racism, and sexism even when issues of identity are not the primary topic of conversation.
Making your students "play their part" in exposing classism, racism and sexism would seem to be a viciously ideological goal and one having nothing to do with music history. But no, this is crucial because of the horrific history of music, dominated by European males:
At the beginning of your class, state the obvious: the canon of western art music is dominated by European male composers. By acknowledging it, you also show your students that you plan to explore moments of the canon’s construction. One way to offer transparency is to point out to your students that you will be using the pronoun, “he,” frequently in class because systemic conditions favored men as composers and performers of western art music. Women were frequently denied access to musical training and elite cultural networks. Similarly, when teaching about the history of classical music in America, make sure to specify if the people in the audience or the people involved in the production of music were white or black Americans. In being explicit about this, you make students aware of the ways in which racism functioned in histories of classical music in America. By offering these explanations to students, we make transparent that assumed racial or gender norms were actually historical processes.
Moral condemnation is smuggled in through the use of undefined terms like "systemic conditions" and "elite cultural networks" which are markers for unsupported theories about history that are, frankly, nothing more than cultural Marxism. This is only a hair's breadth removed from simply stating that Beethoven was a racist, classist oppressor simply because he was a white European male and wrote good music. This is not a School of Music, this is a School of Resentment.

How we got to this sorry state of affairs is by short-circuiting the appropriate tool for the study of art forms, aesthetics, and replacing it with crude ideological ones like collective identity politics, equity and social justice, all of which stem from cultural Marxism. I think the way to push back is to reassert the role of aesthetics.

Is it not perfectly obvious that the reason we perform a great deal of music by Mozart, Bach, Beethoven and others is that their music is overwhelmingly powerful from an aesthetic point of view? The instant you lose sight of this you leave the door open for the Diversity Counselors to come in and put you in the stocks for failing to honor the contributions of women and people of color. If you have no aesthetic reason for preferring the music of Robert Schumann over that of his wife Clara Schumann, then you might as well play her music instead and rectify an historic imbalance. If you have no way of evaluating music in terms of aesthetic quality, then the only reason you have for programming music by, say, Camille Saint-Saëns over that of Cécile Chaminade is that audiences seem to prefer it. But maybe that is simply because they have not heard much of Chaminade. So again, programming her music instead would seem to right an historic imbalance. And so on for every sliced up identity group you can imagine: gay composers, transsexual composers, composers from the Caribbean, black composers, indigenous composers and on and on. Once you start slicing up the population into identity groups there is no logical stopping place short of the individual. And in fact, the only actual existing elements in a society ARE individuals--all the rest are mere abstractions.

So, given the fact that the best way to resist this project is to revive the practice of aesthetics, I think I will do a short, crash course on it, based on a very fine survey of the field by Monroe C. Beardsley titled Aesthetics: Problems in the Philosophy of Criticism. This is a substantial volume, over 600 pages, first published in 1958 with a revised second edition in 1981. In it he surveys the central issues, theories and problems in aesthetics and offers a usable theory of his own. One of the central issues is the question of the relativity or subjectivity of aesthetic judgement, so a good part of the book takes on that problem.

Aesthetics, almost banned from serious consideration for decades now, was not dismissed because of the weakness of its philosophical foundations, no, it was rather a case of being replaced by more fashionable topics such as the doleful trio of classism, racism and sexism such as we see over at Musicology Now.

I have actually put up lots of posts on aesthetics before and you can search for them using the widget on the right, but I want to do something a bit more organized and put up a few posts that condense and summarize the arguments in Beardsley's book.

As an envoi, let's hear something by Cécile Chaminade and then something by Camille Saint-Saëns. First, the Concertino for Flute and orchestra by Chaminade (the music begins at the 2:15 mark):

And the Introduction and Rondo Capriccioso for violin and orchestra by Saint-Saëns:

Wednesday, July 19, 2017

Stravinsky: Context and Development, part 3

On to Stravinsky's studies with Rimsky-Korsakov. Again, this is just a summary of my notes on Tarusksin's mammoth book on Stravinsky.

Rimsky-Korsakov was an indefatigable teacher over 35 years at three different institutions: St. Petersburg Conservatory, Free Music School and the  Court Chapel Choir (which also taught instrumental music and theory)—over which time he turned out some 250 students in theory and composition. Stravinsky was Rimsky-Korsakov’s sole private pupil in his declining years. Rimsky-Korsakov’s usual method was to give Stravinsky unpublished works to orchestrate as he had already had basic training with Kalafati. Perhaps the most important lesson Stravinsky got from Rimsky-Korsakov was his philosophy of work: you must always keep working whether inspiration comes or not, better to write by formula than not to write at all. I have heard similar advice from professional writers who get up every morning and write a certain amount whether they feel any inspiration or not. Rimsky-Korsakov’s lessons concentrated on technical means, rejected raw emotionalism and anything improvisational. [p. 171] For the last three years of Rimsky-Korsakov s life Stravinsky came for private lessons 4-6 pm every Wednesday.

The first fruits of his studies was his opus 1 (though sketches were begun before he commenced lessons): the Symphony in E flat, conceived in the spirit of Beethoven’s Eroica but with resemblances to Glazunov's Symphony no. 6 and Symphony no. 8, the latter Rimsky-Korsakov's favorite symphony as soon as it was written (fall of 1905). Stravinsky's use of superimposed themes in counterpoint was likely following the example of a symphony by Taneyev and ultimately deriving from Franck's Symphony in D minor. The first performance was a public read-through by the Court Orchestra in January of 1908. The performance was given a substantial review by Vyacheslav Karatïgin a young music critic:
“Especially pleasing in the young author is the cheerful, buoyant turn of his musical thinking … Stravinsky’s ideas are as clear and as natural as their development”
A recurring word in the Russian reviews was bodrost’ “high spirits” or “cheerfulness” not a typical quality in Russian music! The “national coloration” of Stravinsky’s early symphony is obvious, but its nationalism, a Belyayevets characteristic, was unrelated to folklore—it was Rimskian in its harmonies and modulations and for the rest Tchaikovsky and Glazunov. The interesting question is how did Stravinsky get out of this cul-de-sac when other members of his circle did not?

His next piece, composed entirely under Rimsky-Korsakov's direction, was the suite for mezzo and orchestra titled "The Faun and the Shepherdess," op. 2 (composed wholly in 1906). Using a text by a very young (17) Pushkin, this is an epithalamium that Stravinsky began when on his honeymoon—he chose bits and pieces of the original poem resulting in a bit of a "disjointed hash." Stravinsky’s musical setting, especially of the first tableau, has excellent and resourceful declamation with some subtle harmonic touches and the borrowings (Rimsky-Korsakov, Glazunov and Tchaikovsky again) are more successfully blended into a general stylistic resonance—nothing to “irritate” Rimsky-Korsakov's conservatism despite Stravinsky's claims much later in life.

The performance and publication history of the Faun offers a sketch of the young and struggling composer lost in a herd of others—his first attempt at publication with Zimmerman was refused, but Rimsky-Korsakov intervened in order to schedule a performance—and a vocal score was published in 1908. The critical reception was mixed and the piece was described as pale and lacking in style.

Let's listen to both of these student pieces. First the Symphony in E flat. This is the Perm Opera and Ballet Theatre Orchestra, conductor, Valeriy Platonov:

Even more obscure is "The Faun and the Shepherdess." The three parts are only available in separate clips.

The second and third will not embed:

Tuesday, July 18, 2017

Stravinsky: Context and Development, part 2

Continuing with my summary of the background as uncovered in Taruskin's book on Stravinsky.

Being as Stravinsky was born into a very cultured musical family at the center of the Saint Petersburg musical establishment, he should have been a natural reactionary. His father, Fyodor Stravinsky, was a highly respected baritone at the Mariyinsky Theater, the dean of Russian opera singers. Fyodor had a large library, strong in history and folklore, which he used in preparation for the creation of realistic characters--his specialty. He was very close to Musorgsky, with whom he performed a number of times in public with Musorgsky himself accompanying.

Igor was born June 5, 1882 (Old Style, June 17 in the new Gregorian calendar) and grew up on the stage of the Mariyinsky, a favorite mascot of the troupe. He therefore possessed from childhood an intimate knowledge of the operatic repertoire. He was something of a young Wagnerite, well-read in aesthetics and not a fan of the absolute music theories of Eduard Hanslick. Stravinsky was descended on both sides of his family from landed aristocracy, identified in Tsarist-era documents as dvoryanin or "nobleman." The family passed their summers on country estates belonging to his mother's sisters.

Stravinsky's earliest composition is a Tarantella for piano. Taruskin describes it as follows: “The only thing remarkable about the Tarantella is how little talent it displays. It is the sort of piece every thirteen-year-old piano student writes, only Stravinsky wrote it at sixteen.” [p. 95] Bear in mind that at sixteen Glazunov was premiering his first symphony and Mozart, of course, had written dozens of symphonies and several operas already. The young piano student Stravinsky was a passionate improvisor but with little knowledge of musical rudiments. His first important teacher was Leocadia A. Kashperova, pianist and composer, who provided him entry into the New Russian School circles.

Fyodor S. Akimenko was his first harmony teacher, who taught from Rimsky-Korsakov's Practical Course in Harmony. He also studied counterpoint by himself and with Vasiliy Kalafati. The next composition is a "fearfully symmetrical" Scherzo for piano with a Trio using chromatic auxiliaries that still shows a somewhat "retarded musical developmen"—compare Glazunov at the same age or a much younger Prokofiev! Stylistically there are echoes of Tchaikovsky. The song setting of "The Storm Cloud" by Pushkin, composed at 19, is more mature, following a Rimsky-Korsakov model harmonically.

In 1902, Stravinsky met Rimsky-Korsakov, an important turning point, armed with a letter of introduction from his father. He also knew Rimsky-Korsakov's sons from university—Stravinsky was enrolled in legal studies, the usual option for people of his class. After completion of this course in 1905 he began lessons with Rimsky-Korsakov. Stravinsky became estranged from his mother after his father’s death due to her insistence on his following a career in law and became very close to the Rimsky-Korsakov family. He was a regular attendee at the bi-weekly Wednesday musical evenings at Rimsky-Korsakov’s apartment at which Stravinsky became known for his short comic songs that were performed at these evenings (1903).

The piece written to be his official qualification for lessons with Rimsky-Korsakov was the Piano Sonata in F# minor completed in summer of 1904. For a while the music was thought to be lost and Stravinsky claimed, much later, that it was an inept imitation of Beethoven, but it was more an imitation of sonatas by Glazunov and Scriabin’s Third Sonata, also in F# minor, a kind of pledge of allegiance to the Rimsky-Korsakov circle and the Belyayev circle. The basic conception was harmonic rather than linear and followed the expanded diatonic vocabulary of the Belyayev circle: “no end of decorative, ‘trompe l’oreille.’ Any dominant seventh can be resolved as an augmented sixth and vice versa. Any first inversion can be treated as a Neapolitan. Any tone can be a ‘common tone’ for instant links between ‘unrelated’ chords” and so on. “But all the harmonic novelty is surface embellishment” [p. 116]. The basic form, for this and the Belyayev circle in general, is entirely conventional: form is objective, content subjective: form is reduced to a set of operating procedures.

Stravinsky’s sonata, modeled on Scriabin and Tchaikovsky’s Grande Sonate of 1878 uses devices typical of its models, but there is also the first appearance of the octatonic scale in a passage in the development mm 136-38. Both the strengths and weaknesses of the early sonata are representative of the school of composers he was joining, showing good command of the instrumental medium and harmonic technique. It is amazing that it comes only five or six years after the juvenile Tarantella!
Stravinsky in his early years was a docile and cosseted scion of the nobility, adopted into the Rimsky-Korsakov circle, another house of nobility—without a trace of rebellion! (Bear in mind that I am just summarizing both the facts and the evaluations from Taruskin!)

Now let's listen to that early F# minor Piano Sonata. The performer is Victor Sangiorgio:

Monday, July 17, 2017

How Now, Musicology Now?

The American Musicological Society is a venerable organization, the professional body gathering in professors and students of musicology in the US and Canada. When I was a musicology graduate student I was a member and attended several of their conferences. The AMS has an official blog called Musicology Now and it might be interesting to have a look. Thanks to commentator Will for reminding me of it.

A blog post, that neither is likely to advance one's career, nor offer payment, is a fairly low incentive activity, but still I am shocked at how few posts there are:

Just for comparison, here is my blog archive for the same years:

According to the website for the AMS, they have some 3.500 individual members, nearly all of whom seem to see no particular reason to contribute a post to the blog, it seems!

In February last year I put up a post discussing a debate that was raging on the Musicology Now site. Go have a look. What are they up to these days? The top post right now is a digest of a dissertation on Cuban dance culture. Seems quite topical and ties into the Obama initiative to foster ties with Cuba. Here is how the writer describes her project:
What does a musicologist gain by studying popular dance culture? One might ask conversely what the discipline of musicology has to offer to the study of popular dance cultures. Certainly my desire to treat both the aesthetic elements and the evolving socio-economic contexts of a popular music-dance culture with seriousness and depth has forced me to adopt an interdisciplinary approach. Yet as a musician and musicologist, the music – its sounds and structures, their logics and meanings – is the touchstone from which I began and to which I repeatedly return. Even the “simplest” folk music has layers of meaning to unpack, once we pay close attention to its basic sonic elements - rhythm, timbre, form, and pitch, for example - and consider the ways in which these produce meaning within their “home” context. In the case of popular dance cultures, scholars of African, Cuban, and even North American dance genres have shown that the intimate relationship between music and dance requires a detailed examination of the dance within the context of a rigorous musical analysis.
I would be curious to see a sample of this rigorous analysis, but I guess that would be too much to expect from a "digest." Here is the last paragraph, summing up the post:
In many ways, change and uncertainty are more palpable than ever at this writing, both on the island and off. Yet official postures and policies aside, musicians and dancers in Havana, New York, and elsewhere yearn to reenact the cultural connections that keep Cuban dance culture alive, and continue to do so through new projects and partnerships. Forms like timba and casino exist precisely because of those resistant acts. They are proof of and inspiration for further acts of mingling and sharing, reminding us of our humanity, resilience, and need for communal moments of pleasure and release. Understanding these deep-rooted connections – between musical sound, embodied listener, and socio-economic space – is the goal of my project and the work of today’s musicologist. 

The next post is titled "Earth Music" and consists of musings about the, I guess, ontological status of the golden record that was sent out to the universe on both the Voyager deep space probes. What do the authors have to share with us?
Whether this Earth Music constitutes a flattening of musical features or a liberation is a matter of perspective. Either way, thinking through the Golden Record challenges us to refashion what we, as musicologists, do. Ultimately, the chief point of this interstellar exploration is firmly focused on the question of communication, starting with our communication here on Planet Earth. This musical anniversary affords us a great opportunity to raise some important questions about the reach of musicology. It asks us to consider our work in its capacity to communicate across the barriers of languages, cultures—indeed across whole worlds and planets—and to examine the very basis and purpose of our work. If we set the most ambitious goals, communicating across species, across exoplanetary systems, and renegotiate the very foundational terms with which we operate, perhaps the rest of our work will seem less daunting as a consequence. Space, it turns out, really is the final frontier.
The next post praises film composer Rupert Gregson-Williams soundtrack to the recent Wonder Woman movie:
Gregson-Williams presents discernible musical themes without patterning his score on a Wagnerian model, and the soundtrack evenly balances music with sound effects during battle scenes, an unusual mixing decision since the development of Dolby surround sound in the 1980s. Critics and viewers have applauded the film’s representation of women both on- and off-screen. Gregson-Williams’s soundtrack also reflects Diana’s Amazonian warrior values and provides a model for future superhero scores. More memorable thematic cues that are balanced with sound effects in action-packed scenes should be applied to break the trope of forgettable superhero soundtracks. 
The next post is also on the film and discusses the nature of evil in Wonder Woman:
This “love,” or what Arendt would call an “understanding heart” differentiates Wonder Woman from Batman and Superman. Superman protects humanity from outside threats, and Batman roots out the bad apples. Only Wonder Woman grapples with the question of whether or not humanity is worth saving. Having faced that question, she insists on living in (and loving) the world as it is, enabling her to see the good in everyone, even Batman’s bad apples. Her “understanding heart” allows her to forge that new beginning that Arendt so prized. 
If we take this official blog of the AMS to be a valid index of what they are up to these days, then the news is dire. It seems that the Gramscian march through the institutions has triumphed! Why do I say this? Ironically, the new musicology is all about establishing the social context of music, but the first post, with its whitewashing of the real nature of the Cuban dictatorship, tries to conceal entirely the social context. The second post has as its fundamental assumption the erasing of all boundaries, national and other, and then proceeds to a really silly exercise in navel-gazing. The third and fourth posts are really exercises in feminism. My point is, whatever your position on these issues and questions, it is pretty much undeniable that they are all ones that embody the politics of the left. Also, only half of the posts actually deal with music as such.

But let me end on a much more cheerful note. JAMS, the Journal of the American Musicological Society offers quite a different picture of what musicologists are up to these days as a glance at the articles in the current issue (follow the link) will reveal. Lots of serious papers on actual music!

As one of the papers is about Boris Godunov, the opera by Musorgsky, let's have a little of that for our envoi.

Sunday, July 16, 2017

Roger Kimball: The Fortunes of Permanence

I don't do too many book reviews here, but The Fortunes of Permanence: Culture and Anarchy in an Age of Amnesia to give its full title, just published on July 4, looks rather good. Roger Kimball has written a lot of books including Tenured Radicals from way back in 1991. The real reason I don't do book reviews is probably that I don't have the qualifications! Unless it is a book on music, of course. But I can direct your attention to a book that might be worth reading...

This is a cultural critique with an impressive depth of learning behind it. Sample quote:
The deepest foolishness of multiculturalism shows itself in the puerile attacks it mounts on the cogency of scientific rationality, epitomized poignantly by the Afrocentrist who flips on his word processor to write books decrying the parochial nature of Western science and extolling the virtues of the “African way.”
[Kimball, Roger. The Fortunes of Permanence: Culture and Anarchy in an Age of Amnesia (Kindle Locations 129-131). St. Augustine's Press. Kindle Edition.]
In analyzing an HSBC ad campaign he points out the following:
The ostensible tenet of this catechism is that all cultures are equally valuable and, therefore, that preferring one culture, intellectual heritage, or moral and social order to another is to be guilty of ethnocentrism. It’s actually not quite as egalitarian as it looks, however, for you soon realize that the doctrine of cultural relativism is always a weighted relativism: Preferring Western culture or intellectual heritage is culpable in a way that preferring other traditions is not.
[ibid, Kindle Locations 138-141]
This passage has attracted a few comments and summarizes the argument of the book:
the fruits of egalitarianism are ignorance, the habit of intellectual conformity, and the systematic subjection of cultural achievement to political criteria. In the university, this means classes devoted to pop novels, rock videos, and third-rate works chosen simply because their authors are members of the requisite sex, ethnic group, or social minority. It involves an attack on permanent things for the sake of the trendy and ephemeral. It means students who are graduated not having read Milton or Dante or Shakespeare— or, what is in some ways even worse, who have been taught to regard the works of such authors chiefly as hunting grounds for examples of patriarchy, homophobia, imperialism, or some other politically correct vice. It means faculty and students who regard education as an exercise in disillusionment and who look to the past only to corroborate their sense of superiority and self-satisfaction. The Fortunes of Permanence aims to disturb that complacency and reaffirm the tradition that made both the experience of and the striving for greatness possible.
[ibid. Kindle Locations 235-242]
Kimball's analysis of relativism as being one of the prime culprits is quite good. Egalitarians attack all hierarchies as being immoral, but typically they then smuggle in their own utopian ideas as replacement. And the end of that road is always great human suffering. Of course the power of progressivism lies in its pretense to being shiny and new. I am reminded of Canadian Prime Minister Justin Trudeau's reply to a critic who questioned his appointment of a cabinet that was precisely 50% men and 50% women (what, no transexuals?). When asked why he simply replied, "Because it's 2015." Well, there you go! Brave New World. While seeming both cool and logical, this is really an attack on the idea that anything can have inherent value. Progressivism in that way justifies itself: what we are doing is good because it is progressive and because it is progressive it is good. And then you wake up one day and find yourself agreeing that Bach is no better than Justin Bieber.

I am just reading the book myself, so I can't offer any global criticism, but it seems both well-written and well-founded, so probably worth a look.

UPDATE: Agh! Somehow I missed that this book was actually published in 2012. Sorry, I thought it was a new publication.

Saturday, July 15, 2017

Music and Culture: a David Brooks Satire

I wrote a post inspired by a recent column by David Brooks, but I missed out on the most stimulating paragraph:
Recently I took a friend with only a high school degree to lunch. Insensitively, I led her into a gourmet sandwich shop. Suddenly I saw her face freeze up as she was confronted with sandwiches named “Padrino” and “Pomodoro” and ingredients like soppressata, capicollo and a striata baguette. I quickly asked her if she wanted to go somewhere else and she anxiously nodded yes and we ate Mexican.
Let's move this to a concert experience, shall we?
Recently I took a friend with only a high school degree to hear a concert. Insensitively, I led her into a symphony concert hall. Suddenly I saw her face freeze up as she was confronted with compositions titled Symphonie fantastique and Variations on a Theme by Haydn with movements like allegro con brio, andante and, shudder, Nicht zu geschwind und sehr singbar vorzutragen. I quickly asked her if she wanted to go somewhere else and she anxiously nodded yes and we hustled over to a Radiohead concert.
I dunno, is that funny? Probably not as the classical music culture is no longer part of the cultural repertoire of the upper class even though knowledge of Italian cold cuts is.

Proms Get Political

The headline comes from The Guardian, not me:
The BBC has been known to go to some lengths to avoid political statements being made at the Proms, but this year, pianist Igor Levit sneaked one in before even an hour of the season had passed.
The Russian-German pianist’s encore – demanded in no uncertain terms by the audience after his performance of Beethoven’s Piano Concerto No 3 – was Liszt’s transcription of the Ode to Joy, the chorus to hopeful words by Friedrich Schiller that forms the final movement of Beethoven’s Symphony No 9.
It is also, of course, the anthem of the European Union, and a worldwide musical symbol of assertive unity. If there could have been any doubt that a performer of such political awareness and responsibility as Levit meant it to be taken as such, he was wearing a small EU pin. The BBC’s cameras couldn’t miss it.
I think this deserves a brief note. I am a big fan of Igor Levit; I think he is the most promising of the new generation of pianists and I have all of his CDs. I put up a recent post about this issue of Venezuela and music that also involved Igor Levit.

Here are some further thoughts: in the case of Venezuela, a horrific situation of an entire nation apparently committing suicide before our very eyes, it is frankly hard to see why we should ignore it. And in the case of a musician of Venezuelan nationality, we should not only allow them some leeway to express their opinions, but perhaps even listen to them. But Brexit is an entirely different situation and musicians should perhaps steer clear unless there is some compelling reason to make a statement and in this case, the Proms concert, I really don't see one.

On the other hand, perhaps all this is imaginary and dreamed up by The Guardian. After all, just because Levit played Liszt's transcription of this particular movement doesn't necessarily imply a "statement" at all, even if he was wearing an EU pin. I have a Canada pin I wear sometimes, but I don't mean to make a statement with it.

Envoi, Beethoven Piano Concerto #3: a little sample of a performance by Igor Levit and the Mannheim Philharmonic:

Stravinsky: Context and Development, part 1

Taruskin's book on Stravinsky, the genesis of which took some twenty years, is in the classic mode, based on traditional archival research and analysis. Much of it was begun long before the "new" musicology began to invade the academy and is all the more trustworthy because of that.

Let me just briefly go over some of the material from the early chapters; this is a summary of notes on the Taruskin book, volume one.

For a long time, well into the 19th century, art or concert music in Russia was largely imported in the form of Italian and German composers and the local musicians had to imitate these styles if they wanted to be performed. The first generation of composers who strove to break entirely away from these influences was the "mighty five" (in Russian, mighty "heap" or "kuchkist") group consisting of Balakirev, Rimsky-Korsakov, Musorgsky, Borodin and Cui. This New Russian School, as they were dubbed by the writer Stasov, began with Glinka and reached a kind of pinnacle with the five. They were anti-academic, folkloric, resistant to foreign influence, anti-Tchaikovsky (too Germanic). By the 1880s this was more myth than reality, however. Rimsky-Korsakov had become the musical establishment with his appointment as professor at the Saint Petersburg conservatory. He labored tirelessly teaching himself harmony and counterpoint and even sought counsel from Tchaikovsky. The new generation of his students, including especially Glazunov, were even more influenced by Tchaikovsky and by the 1880s the tradition of Russian auto-didacticism was at an end as music became more and more professionalized. This professionalization was largely the work of Anton Rubinstein who founded the conservatory system, an agency for the achievement of social rank as well as professional training.

At the same time a new source of patronage, hitherto entirely the nobility and the church, became available with the growth of a merchant class in Russia, the kupechestvo. They supported a new school of painters, the peredvizhniki, who became the mainstream of Russian art. In 1882 this merchant patronage came to music in the person of Mitrofan Belyayev, a timber and manufacturing mogul and amateur musician. He was a patron of Glazunov and formed a high quality publishing house for Russian music based in Leipzig as well as a concert series devoted to Russian composers. The Belyayev circle came to include Lyadov, Stasov, Cui, Borodin, Glazunov, Rimsky-Korsakov and many others.

Over time, as one would expect, the innovators became the establishment and the Belyayev circle became a circle of power, controlling access to publication, performance and employment, which led to both conformism and mediocrity. Upon Belyayev's death in 1903, he left a large endowment controlled by a board of trustees consisting of Lyadov, Glazunov and Rimsky-Korsakov.

Rimsky-Korsakov, Glazunov, Lyadov

An indication of the conservatism that developed is shown by Rimsky-Korsakov's dislike of the music of Debussy and Richard Strauss. There was less and less interest in Russian nationalism in music as evidenced by an interview with Rimsky-Korsakov in which he stated that a special "Russian" music simply does not exist. By 1900 Russian music had entered its "Brahms phase" and the Belyayev catalogue showed a predominance of instrumental music, mostly in a pan-European mode.

Audiences more and more perceived the Belyayev offerings as bland and boring and the concerts were poorly attended. Rimsky-Korsakov himself became aesthetically exhausted and pessimistic about the future of music. This was the moribund world that the young Stravinsky entered in 1902. In less than half a century the New Russian School had grown old and senile, each generation less creative than the one before. Stravinsky, as Rimsky-Korsakov's last private composition student, was a member of the fourth and last generation. Souvtchinsky called them "walled-in artists."

For an envoi, let's listen to a piece by Glazunov, who was perhaps the best composer, other than Rimsky-Korsakov, of the Belyayev circle. This is the Symphony no. 5 in B flat with the Leningrad Philharmonic Orchestra conducted by Evgeny Mravinsky:

Friday, July 14, 2017

No Miscellanea Today!

The internet at my house has been down for the last two days, probably due to the monsoon-like rains we have been experiencing for the last two weeks, so I have been unable to collect amusing and entertaining links for you! The upside is that I have had a lot more time to read Taruskin and I am almost a quarter of the way through volume one of his book on Stravinsky with several pages of notes.

In place of a miscellanea, let's listen to a couple of student pieces by Stravinsky. Long thought to be lost, this is his Piano Sonata in F# minor that he wrote as a kind of audition piece to qualify for private composition lessons with Rimsky-Korsakov. The piece is modelled after piano sonatas by Tchaikovsky and Scriabin (the Third) as well as music by Glazunov.

And here is his Symphony in E flat, labeled Opus 1 as it was his first composition intended for public performance:

There is a great deal in this piece that is taken, rather directly, from a couple of symphonies by Glazunov.

Thursday, July 13, 2017

Who Writes Symphonies?

Here is an intriguing little clip from the film I, Robot:

I'm pretty sure Will Smith can't (not that he's tried), but a few of us can. I have written a few, but I make no claims whatsoever as to their worth. But the meme of writing a symphony standing in for the idea of being able to do something highly creative and complex is widely disseminated. If you want some background, the Wikipedia article is a pretty good place to start.

I bring this up because of an opinion piece in the Washington Post reacting to Trump's speech in Warsaw in which he said:
The world has never known anything like our community of nations. 
We write symphonies.  We pursue innovation.  We celebrate our ancient heroes, embrace our timeless traditions and customs, and always seek to explore and discover brand-new frontiers.
We reward brilliance.  We strive for excellence, and cherish inspiring works of art that honor God.  We treasure the rule of law and protect the right to free speech and free expression.  (Applause.)   
We empower women as pillars of our society and of our success.  We put faith and family, not government and bureaucracy, at the center of our lives.  And we debate everything.  We challenge everything.  We seek to know everything so that we can better know ourselves.  (Applause.) 
Ok, you could complain that this is a bit too rah-rah, I suppose, but the Polish audience seemed to like it. But Jonathan Capeheart at the Washington Post went a bit ballistic:
 “We write symphonies.” What on Earth does that have to do with anything? It’s bad enough Trump is doing the one thing his predecessors studiously avoided: engaging in the battle-of-civilizations talk that inflames anger and tensions with Muslims, particularly in the Middle East. In that one line, taken in context with everything else Trump said, what I heard was the loudest of dog whistles. A familiar boast that swells the chests of white nationalists everywhere. 
It’s right out of the hymnal of white nationalism favored by folks who believe the world begins and ends with them.
This is the same crowd that brays about the superiority of  “Western civilization” and its contributions in the history of the world conveniently ignores (or perhaps is just plain ignorant about) what we’ve adopted from Muslims and the Middle East. Those symphonies Trump says “We write” (ahem) would be real lame without the influence of the Middle East and Muslims. According to Salim al-Hassani, chairman of the Foundation for Science, Technology and Civilization and editor of “1001 Inventions,” which chronicles “the enduring legacy of Muslim civilization,” told CNN years ago that the lute, musical scales and the ancestor of the violin are all part of that legacy.
Sidestepping the politics entirely, I just want to comment on the assertions about music. As a matter of fact, mentioning symphonies was an excellent example to choose if you wanted to say something about the strength of Western Civilization because the symphony, along with opera perhaps the most developed and powerful musical form ever created, is entirely the creation of generations of musicians of Western Europe over the last three centuries and has now spread, if not worldwide, then certainly anywhere that classical music is regularly performed. Go back and read the Wikipedia article to refresh your memory.

So what about those mysterious musical things we have "adopted from Muslims and the Middle East"? The lute? Well, yes, the lute does come from al-oud, a North African instrument that probably predates Islam. Intriguingly, the one place in Europe that completely avoided its use was Spain, where they had just won the long reconquista to rid themselves of Muslim rule. As for musical scales, sorry, the Muslims, along with Western Europeans, simply inherited them from the ancient Greeks who actually invented them. According to Wikipedia, the ancestor of the violin originated in Central Asia long before Islam:
Two-stringed, bowed instruments, played upright and strung and bowed with horsehair, may have originated in the nomadic equestrian cultures of Central Asia, in forms closely resembling the modern-day Mongolian Morin huur and the Kazakh Kobyz. Similar and variant types were probably disseminated along East-West trading routes from Asia into the Middle East, and the Byzantine Empire.
 But any idea that any other civilization contributed to the development of the symphony is simply ludicrous. Probably the greatest formative contribution was that of Joseph Haydn, stuck out on the Esterházy estate in Hungary month after month with a music-hungry nobleman to amuse. That is where the symphony came from!

Oh, and only dogs hear dog-whistles.

Tuesday, July 11, 2017

Higher Education

I sometimes wonder how I managed to become as educated as I am, despite my geographical origins. I was born in Peace River, Alberta which is at the 56th latitude north, a location shared by such places as Riga, Dundee and Yekaterinburg. For much of my youth we lived in a place so isolated that I could walk out the back door and encounter no trace of human occupation for a hundred miles or so. What made the difference for me was my family's move to Vancouver Island in the mid-60s which made it possible for me to attend a real university after I graduated from high school. I owe a great deal to the liberal admission policies of the University of Victoria for they decided, solely on the basis of my maturity--after high school I spent a couple of years working at menial jobs so I was twenty years old when I applied--and a high school transcript that averaged around 53%. I doubt I would get admitted anywhere these days!

I loved university and had an A minus average over my undergraduate years. I transferred to McGill for the latter part of my studies and they generously admitted me even though they had a few doubts about the University of Victoria's standards. But the trick at McGill was not to get admitted, but to graduate! In my Concert Diploma studies I noticed that students in that program and in the master's degree in performance had a high failure rate. In both these programs you had to give public recitals that were marked by a jury of professors. About 50% failed and had to go before a committee to explain why they should be given a second chance. Tough, but that is how it goes in the performing arts. McGill is not too hard to enter, but a lot tougher to get out of with a degree.

This is all inspired by a column in the New York Times by David Brooks in which he reveals some disquieting trends:
Over the past generation, members of the college-educated class have become amazingly good at making sure their children retain their privileged status. They have also become devastatingly good at making sure the children of other classes have limited chances to join their ranks. 
Richard Reeves of the Brookings Institution recently published a book called “Dream Hoarders” detailing some of the structural ways the well educated rig the system.
The most important is residential zoning restrictions. Well-educated people tend to live in places like Portland, New York and San Francisco that have housing and construction rules that keep the poor and less educated away from places with good schools and good job opportunities.
These rules have a devastating effect on economic growth nationwide. Research by economists Chang-Tai Hsieh and Enrico Moretti suggests that zoning restrictions in the nation’s 220 top metro areas lowered aggregate U.S. growth by more than 50 percent from 1964 to 2009. The restrictions also have a crucial role in widening inequality. An analysis by Jonathan Rothwell finds that if the most restrictive cities became like the least restrictive, the inequality between different neighborhoods would be cut in half. 
Reeves’s second structural barrier is the college admissions game. Educated parents live in neighborhoods with the best teachers, they top off their local public school budgets and they benefit from legacy admissions rules, from admissions criteria that reward kids who grow up with lots of enriching travel and from unpaid internships that lead to jobs.
From what I have been reading in other places lately, once you are in one of these colleges, they are so indulgent to the students that you really have no worries about graduating. The average mark in many places is an A. Studies have shown that there is little or no improvement in critical thinking after four years of college. Students are afforded luxury accommodations and  "safe spaces" that shield them from contrary opinions. Indeed, as long as you are careful to parrot all of your professor's ideological positions, you are guaranteed a high mark! Exceptions, of course, for the hard sciences and for music schools that still follow the traditional curriculum.

On the whole, I think that the approach McGill favored, easy admission and difficult graduation, is far superior to the current one: admission so difficult that only the well-connected can manage it, followed by a perfunctory education and guaranteed graduation.

For our envoi, let's listen to a performance from the McGill School of Music.